JIMMERSON GALLERY I AKA ASSEMBLY TOMWORK I FEATURES THE COLLECTIVE COLLAGE OF MIXED MEDIA BY MERWIN BELIN

Jimmerson Gallery, owned by Tom Jimmerson, recently relocated from the Culver City area to Los Angeles. Upon looking at the new location, there is a feeling of community within the busy area that sits right next to the 10 West freeway. Seemingly, just an average white, faded, building, until you open the door. We find Tom Jimmerson, tall, says he is age sixty, and although that may be true, he still carries the aura of a college student going into night school for his first BS. In Tom’s case, a doctorate in the rules and regulations of how to promote and sell, Art. Partner in crime and longtime supporter, famed columnist, journalist, art lover and curator, Diana Zlotnik and her assistant, Kathy, were close thereby, filling in the third side of the us, and thus forming the we. The three of them,  a well-defined trine, that seems to flow as one person while striking balance with ease. As we move closer to the wall, we bring our zoom into focus to see that there are rows of printed collages, laced with hints of melancholy and a bit of nostalgia that stretch from one side of the room to the other. With a loft styled look, Assembly TOMWORK, formerly known as the Jimmerson Gallery, now promotes the entire collection of collage works by, Merwin Belin. The papered collection of discolored and vintage influenced descriptions tells stories of right winged politicians and an assorted array of individuals of note. Jimmerson publicly shares the artist’s photographed memories of famous musicians like a poster of The Jewish Journal of Greater Los Angles cover on Jimi Hendrix, The Coasters, or just plain ketchup as in Heinz.  For contrast, Merwin created a darkened yet scripted image of the words, “Artist Image.” There are a number of notions that come to mind that could describe Merwin’s collage of authentic verbiage however, judging from our conversation with Tom, he is certainly in the right spot. Jimmerson spoke of his journey into the circle of the arts and how earlier parts of his career landed him into this particular vein of creative endeavors.” I made an intellectual move from 1974-1975 and curated for art exhibitions right after coming out of the University of Irvine. I also worked for several years for art galleries, including Doug Krismus and took a big period off from that, in order to study Architecture. I have been back seven years now. In my opinion, the one thing that critics, curators, and gallery owners have in common is a burning desire to make a statement and so the statement is made by aggregating materials together. “ Jimmerson calls Merwin’s work a vast failure. “I can’t quite declare it as a failure because it’s on the market and it can sell, I only want the best for the artist that I represent. Art, as it is typically handed down to us in the art world, I find to be relatively, boring story. I’m OK with Gregorian, because it feels familiar, but that story is so familiar, that I feel compelled to tell it differently.” Tom does just that, as he features an artist like Belin, who is described as an interesting burst of rebellion towards social structures. We are told that he once hung up the phone on a caller who was simply non-responsive to his question; he tapped the mouthpiece saying, “hello, and hello”? These phones are made by prisoners in China.  As one might imagine he does not weigh in at number one for the local popularity list.  For decades, Belin has earned his living as a scenic artist, someone who builds and paints sets for television.  He warns off established art dealers who might have otherwise cut off the laser-beamed works which have made him somewhat problematic.  Belin serves as an all-purpose stage tech for music groups like, Blondie, The Eagles, Brian Setzer and Herb Alpert.  “His works are technically collage, Jimmerson chants, but I would probably refer to it more generically, as realism, but realism as an escape from abstraction and an interest in things. They are narratives and do not necessarily take the form of a realistic sculpture or a realistic painting by the standards of art history. In the broadest, philosophical, and generic sense, my interest in realism, the nature of society, where we are now, and the mechanics of the art world is fascinating and well worth the study.” The gallerie’s next showing  will share Belin’s works  from 1962.  Assembly TOMWORK is presently showing Belin’s work entitled:  Frontpages, 1984-2011.  2045 La Cienega Blvd. I Los Angeles, CA I 90034

 www.assemblyof.com I www.tomworklosangeles.com I 310-815-1100